In the sacred tradition of Vedic chanting, the Sāma chants are renowned for their intricate intervals between tones, which are understood to be threefold. Yet, when the proper instruction is neglected, ignorance leads the singers astray, and their chanting falls out of tune. Such erroneous speech, powerful as a thunderbolt, can destroy the sacrificer—much like Indra’s enemy, whose downfall came from a mistake in tone. These chants are recited during the Soma sacrifices; in the Sāma, the interval between notes is halved. Often, the singers find themselves unable to express these nuances clearly, for such is the rule for recitation. In both the Ṛgveda and Sāmaveda, the first tone must be uttered with precision. The tone known as 'pārthiva' arises from a blend of high and medium pitches, while the second and subsequent tones, ending in the low pitch, belong to the Taittirīyas, who employ four distinct tones. O sage among sages, the Sāma singers skillfully produce both low and high tones. Similarly, in the Śatapatha Brāhmaṇa, these two tones are attributed to the Vājasaneyins. Thus, the practice of mastering tones is universal across all the Vedas. The branch of the Sāmaveda is concise in its text but abundant in meaning, and it holds the highest place among the Vedas. It is pure, purifying, and auspicious, as has been proclaimed to you. The musical scale is based on seven tones, and there exist twenty-one modes of modulation. These tones are named Ṣaṅja, Ṛṣabha, Gāndhāra, and Madhyama. Among these, Ṣaṅja, Madhyama, and Gāndhāra are recognized as grāmas, or musical scales. Within the grāmas, there are three positions: Svarga, Abhra, and Gāndhāra. In the Madhyama grāma, twenty positions are counted, while the Ṣaṅja grāma has fourteen. Various modes are known by names such as Nadī, Viśālā, Sumukhī, Citrā, Citravatī, and Mukhā; and also Āpyāyinī, Viśvabhṛtā, Candrā, Hemā, and Kapardinī. In the Ṣaṅja grāma, Uttaramandrā is found; in Ṛṣabha, Abhirūhatā appears. In Madhyama, the fifth note encompasses Sauvīrā and Hṛṣikā. In Niṣāda, one should recognize Rajanī; there are seven mūrchanās (musical progressions) attributed to the Ṛṣis. Likewise, seven mūrchanās are associated with the Pitṛs, and also with the Yakṣas, without doubt. The Ṣaṅja grāma pleases the gods, while Ṛṣabha pleases the Ṛṣis. The fifth note brings delight to gods, ancestors, and Ṛṣis alike. The qualities and modes of song are tenfold, including Kākasvara, mūrddhagata, and those lacking proper position. When disturbed or lacking rhythm, these form the fourteen faults of singing. The fortunate singers desire sweetness in their music, while others seek elevation. Gāndhāra is golden in appearance, and Madhyama resembles the jasmine flower. The Niṣāda is considered to be common to all castes; these are the characteristics of the svara-varṇas, or tonal colors. Ṛṣabha and Dhaivata are both regarded as Kṣatriyas, and Śūdra status is determined by half the rule—there is no doubt about its fallen condition. When the tone descends in the middle pitch, Niṣāda is recognized as belonging to the Ṣāṅjava class. Ṛṣabha together with Niṣāda forms what is known as the fifth (pañcama) of this kind. Because of the weakness of Dhaivata, this is called the Madhyama grāma. Where Dhaivata is vibrated, it is referred to as Ṣaṅgayāma. This should be known as Sādhārita, and the fifth note is called Kaiśika. Because the resting place is in Madhyama, it is known as Kaiśika Madhyama. Thus, the wisdom and practice of tones, their modes, and their qualities are woven deeply into the fabric of the Vedas, carrying both purity and auspiciousness for all who chant them with understanding.